Game: AGON 2e Group type:Online Experience:Veteran (10+ years) Location/Timezone:Pacific Time Schedule:Tuesdays 6-9pm PT Roles sought:Players (2-3) Game style:Epic Heroism, Tragedy, and Collaborative Storytelling
The GM
Hey there! I'm Sonder (They/Them), a longtime GM with a degree in Philosophy & Classical History. I'm from Seattle and have a longstanding D&D group over discord that is looking to branch out into AGON 2e for an adventure within my expertise. So I have a few players from that group coming to this game, but could use a few new faces to flesh out our crew. I've had great success on this forum for D&D games, and don't see anywhere if other TTRPGs are allowed. I tried Reddit, but that place is a hellhole and I find the player base on here is much friendlier. So if you're adventurous enough to try out some other systems, we'd love to have ya!
Feel free to comment or message me directly if you're interested in joining us or have any questions about the game.
The System
AGON 2e (Largely just called AGON) is a streamlined system for telling epic tales of heroism in the style of the works of Homer. Players take the role of scions to gods and mythic heroes. These adventurers will assemble a crew and sail between islands afflicted by strife of all kinds, enacting great deeds as they journey homeward, or meet their fates along the voyage.
The Game
This adventure will follow a band of survivors, the last heroes of a dying age, wandering the ruins of a world that has already ended. The great kingdoms of the Bronze Age have fallen, their cyclopean walls torn down, their kings slain, their lineages broken. The heroes of old are dead or fading into legend, and whatever glory once defined their deeds has given way to silence, ash, and uncertainty. This is not the age sung in the epics, but what comes after, the long shadow cast by their ending.
The world will feel familiar to those who know the great tales of The Iliad, The Odyssey, The Argonautica, and The Aeneid, but its tone is not one of triumph or heroic destiny. Instead, it leans into the weight and inevitability of tragedy, the kind found in Oedipus Rex, Antigone, Medea, The Bacchae, and The Oresteia. The gods are no longer reliable patrons of heroes, but distant, fractured, and often hostile forces. Fate is not something to overcome, but something to survive. Victory, when it comes at all, is costly, incomplete, and often indistinguishable from loss.
Set in the years following the Bronze Age Collapse, roughly between 1200 and 1100 BCE, the campaign carries forward through the lost centuries that precede the Archaic period, ending somewhere between 900 and 800 BCE. This is a time with no written record, a void in history where memory fails and truth dissolves into myth. That absence gives us freedom: to explore the contradictions between the Mycenaean world and the later Hellenic tradition, and to imagine how one became the other. The players are not just participants in this world, they are its connective tissue, the forces through which myth reforms itself.
The gods themselves are not yet what they will become. Many of the deities familiar from later Homeric works, Aphrodite, Hades, Hestia, exist in fragmented, uncertain forms: their domains undefined and their influence scattered. The Olympian order has not yet solidified, it must be forged. Zeus has not fully claimed his rule, and his authority is something that must be established through conflict and alliance. Hera represents sovereignty itself, her union with Zeus shaping the very concept of divine kingship. Poseidon, once dominant, begins to lose ground as the boundaries of the world shift and new powers emerge. Hermes defines the edges of a broken lands, marking what little order remains. Hephaestus uncovers the secret of iron, ushering in a harsher age, while Apollo begins to speak through his first prophets, his voice still unclear and untrusted.
The world itself reflects this instability. This is not a faithful map of the Aegean, but a mythic landscape shaped by catastrophe. Seas have shifted, coastlines broken, and once-great cities lie in ruin or have vanished entirely. The landmarks of the old world, towering citadels, sacred halls, and storied roads, have collapsed into graves and scattered stone. What remains are wild lands, untamed and uncertain, filled with wandering beasts, lingering spirits, and young gods. This is no longer an age of men, but something older, stranger, and far more dangerous.
In this world, the players do not simply survive history, they define it. The transition from Bronze to Iron, from scattered cults to unified pantheon, from wandering survivors to the foundations of the polis, all of it unfolds through their actions. The myths that later generations will treat as ancient truths are, in this moment, still fragile, still forming, still waiting to be decided.
Game: AGON 2e
Group type: Online
Experience: Veteran (10+ years)
Location/Timezone: Pacific Time
Schedule: Tuesdays 6-9pm PT
Roles sought: Players (2-3)
Game style: Epic Heroism, Tragedy, and Collaborative Storytelling
The GM
Hey there! I'm Sonder (They/Them), a longtime GM with a degree in Philosophy & Classical History. I'm from Seattle and have a longstanding D&D group over discord that is looking to branch out into AGON 2e for an adventure within my expertise. So I have a few players from that group coming to this game, but could use a few new faces to flesh out our crew. I've had great success on this forum for D&D games, and don't see anywhere if other TTRPGs are allowed. I tried Reddit, but that place is a hellhole and I find the player base on here is much friendlier. So if you're adventurous enough to try out some other systems, we'd love to have ya!
Feel free to comment or message me directly if you're interested in joining us or have any questions about the game.
The System
AGON 2e (Largely just called AGON) is a streamlined system for telling epic tales of heroism in the style of the works of Homer. Players take the role of scions to gods and mythic heroes. These adventurers will assemble a crew and sail between islands afflicted by strife of all kinds, enacting great deeds as they journey homeward, or meet their fates along the voyage.
The Game
This adventure will follow a band of survivors, the last heroes of a dying age, wandering the ruins of a world that has already ended. The great kingdoms of the Bronze Age have fallen, their cyclopean walls torn down, their kings slain, their lineages broken. The heroes of old are dead or fading into legend, and whatever glory once defined their deeds has given way to silence, ash, and uncertainty. This is not the age sung in the epics, but what comes after, the long shadow cast by their ending.
The world will feel familiar to those who know the great tales of The Iliad, The Odyssey, The Argonautica, and The Aeneid, but its tone is not one of triumph or heroic destiny. Instead, it leans into the weight and inevitability of tragedy, the kind found in Oedipus Rex, Antigone, Medea, The Bacchae, and The Oresteia. The gods are no longer reliable patrons of heroes, but distant, fractured, and often hostile forces. Fate is not something to overcome, but something to survive. Victory, when it comes at all, is costly, incomplete, and often indistinguishable from loss.
Set in the years following the Bronze Age Collapse, roughly between 1200 and 1100 BCE, the campaign carries forward through the lost centuries that precede the Archaic period, ending somewhere between 900 and 800 BCE. This is a time with no written record, a void in history where memory fails and truth dissolves into myth. That absence gives us freedom: to explore the contradictions between the Mycenaean world and the later Hellenic tradition, and to imagine how one became the other. The players are not just participants in this world, they are its connective tissue, the forces through which myth reforms itself.
The gods themselves are not yet what they will become. Many of the deities familiar from later Homeric works, Aphrodite, Hades, Hestia, exist in fragmented, uncertain forms: their domains undefined and their influence scattered. The Olympian order has not yet solidified, it must be forged. Zeus has not fully claimed his rule, and his authority is something that must be established through conflict and alliance. Hera represents sovereignty itself, her union with Zeus shaping the very concept of divine kingship. Poseidon, once dominant, begins to lose ground as the boundaries of the world shift and new powers emerge. Hermes defines the edges of a broken lands, marking what little order remains. Hephaestus uncovers the secret of iron, ushering in a harsher age, while Apollo begins to speak through his first prophets, his voice still unclear and untrusted.
The world itself reflects this instability. This is not a faithful map of the Aegean, but a mythic landscape shaped by catastrophe. Seas have shifted, coastlines broken, and once-great cities lie in ruin or have vanished entirely. The landmarks of the old world, towering citadels, sacred halls, and storied roads, have collapsed into graves and scattered stone. What remains are wild lands, untamed and uncertain, filled with wandering beasts, lingering spirits, and young gods. This is no longer an age of men, but something older, stranger, and far more dangerous.
In this world, the players do not simply survive history, they define it. The transition from Bronze to Iron, from scattered cults to unified pantheon, from wandering survivors to the foundations of the polis, all of it unfolds through their actions. The myths that later generations will treat as ancient truths are, in this moment, still fragile, still forming, still waiting to be decided.
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